A collection of musically themed musings by Brendan Bush in Burlington, VT

I just finished listening to Patrick Watson’s new release Adventures In Your Own Backyard and liked it enough to inspire me to write something here for the first time in months. Having just returned from a whirlwind 10 days overseas, this simple, sweet and sentimental album is the perfect way to soothe out and transition back home.

Here’s a Tiny Desk Concert recorded last week:

Here’s Adventures In Your Own Backyard on Spotify, iTunes or Amazon (where it’s currently just $4.99).

I’ve been dying to post more here, including a wrapup of the fantastic Iron & Wine show at Higher Ground this past Sunday. Unfortunately, 100% of my time at the computer has been consumed with work, and as this blog currently costs more money than it makes me, I’ve been unable to give it the attention it deserves. Apologies — I’ll do better.

But until then, there is some really good music coming through Burlington over the next couple of weeks. Here are a few highlights:

I know there are a few readers from Montreal, and there are also a couple of really good shows coming up. It’s been too long since I’ve seen a show up there (since BSS in December), and unfortunately I won’t be able to make it to these, so would someone please go and have fun for me?

“No, no barricade — we’d rather they fuck up our equipment than have a barricade.” That was a wonderful start to a wonderful show, as Ryan Biornstad, Starfucker vocalist and jack-of-all-trades (guitar, keyboard, turntables, dancer) told Higher Ground security to stop backing people away from the stage as they sound checked.

I had really high hopes for this show and the band met my expectations, easily. There were lasers, a ton of dancing (on and off stage), and well, this photo does a much better job than I could of describing the energy at the Higher Ground’s Showcase Lounge:

Starfucker played a brief but exciting set, much of it from their recently released Reptilians, but also featuring some of my favorites from their self-titled debut LP, including “laadeedaa” and “Rawnald Gregory Erickson the Second.” Thankfully, there was a really good turnout, and I don’t think there was a single person there who didn’t have a wicked good time. The energy was infectious — smiles never left the faces of the five guys on stage, and it was impossible not to move to the music.

I’m fairly fascinated with the demographics of the crowd that turned out, further confusing my understanding of what makes people go to shows. It was a significantly different group of folks than I generally see out at the Higher Ground, and I’m glad to see a band like Starfucker have the draw to bring out such a seemingly diverse audience. If that many people turned out regularly to support live music in Burlington, there is no doubt that we’d become a regular stop between Montreal and Massachusetts. Thanks to the hard work of Angioplasty Media and MSR Presents, and the continued willingness of Higher Ground and Monkey House to host indie music bands, we’re on the way. But it’s fans who really keep these bands coming back, and I really enjoyed seeing so many music fans turn out on Friday.

I’d see Starfucker again anytime they came through town, and if you like to dance, I suggest you keep them on your radar as well.

There are definitely a couple of posts that I’ve written the day after a show that begin with a sentiment close to “you blew it if you weren’t there.” In the spirit of fairness, I thought I’d tell you explicitly in advance this time: if you aren’t at the Starfucker show next Friday, April 8 at the Higher Ground Showcase Lounge, you’re blowing it.

Portland, Oregon’s Starfucker, previously known as Starf**ker, STRFKR and potentially some other variation(s) of their current (and seemingly complete) band name, are a real treat for Burlington-area indie music fans. This is a band with a huge following in their hometown, and one that I am 100% sure is going to become immensely popular in the next couple of years (if not sooner). Their music is just too damn good.

They play songs ranging from straight up electronic dance jams to more mellowed-out shoe-gazers. It occurs to me that I haven’t mentioned the price of the show – it’s $10. Ten measly dollars. You’ve spent more than that on a six-pack — you’ll enjoy this much more. If we’re lucky, Starfucker might even treat us to tales of the recent (apparently unsubstantiated) arrest of band member Ryan Biornstad at SXSW in Austin, TX.

If you like to dance, sing in the car or the shower, jump up and down, smile, or if you just like to party, I suggest you join me at Higher Ground next Friday. Still unconvinced? Just be the first person to comment on this post, and I’ll send you a free ticket (be sure to use a valid email address).

Here’s a quick (albeit blurry) example of what you’ll be missing if you aren’t there:

Last night, I caught The Head and the Heart (who opened for Dr. Dog) at the Higher Ground. It’s the strangest thing, but their performance was so impressive that it really makes their album seem a little lackluster. Not that I’ve stopped listening to it today (currently on the third time through), but the band has definitely come a long way since they recorded it (they originally self-released the album in July 2010), and their live act adds so much character to their music.

They clearly have such a good time playing that it was hard not to get swept up in it, but what impressed me wasn’t just the energy they played with. They also consistently belted out flawless 3-part vocal harmonies, thumped and shook impeccably timed percussion and threw in a jangly piano and some violin to boot.

Jon Russell and Josiah Johnson share the lead vocal duties, and both went all out. Russell’s voice is normally deep and raspy, but he hits falsetto notes too. Johnson was so crisp and clear that at times it was hard to believe there were other instruments playing. Percussionist Tyler Williams went from four-limbed madman, nearly jumping out of his seat for entire songs, to egg-shaking time keeper, precisely placing shifts and tics.

My only hope is that as they continue to write music, The Head and the Heart finds a way to use vocalist/violinist Charity Rose Thielen’s voice more often. She’s the perfect complement to the two male voices in harmonies, but it was her several solo lines that garnered the most attention from the audience (In “Rivers and Roads” and “Winter Song”), and I was seriously impressed at her vocal range.

All in all, I highly recommend seeing The Head and the Heart. It’d be pretty hard not to have a good time. Oh, and if they are opening for Dr. Dog and you plan on staying for that, make sure to bring your earplugs. I brought the wrong ones, and only made it through the first 5 Dr. Dog songs before I couldn’t take the loudness anymore.

It’s not often that I have such high expectations as I did last night for Langhorne Slim, who I’ve wanted to see for at least 5 years. It’s also not often that those expectations are exceeded, but Langhorne Slim did it last night. The band put on a performance that easily ranks in my favorite 5 of the year, and has had me listening to Langhorne albums all morning. Here are some photos from the show, with more wrapup beneath them:

The only slightly negative aspect of the night was the slim attendance (couldn’t resist the pun). I wish I knew what it took to drive people to shows, as I can almost guarantee that everyone there last night had an amazing time. That was easily the best $10 show I’ve been to, and if you missed it, you blew it.

Anyhow, the band consists of Langhorne Slim (born Sean Scolnick) on guitar & lead vocals, Malachi DeLorenzo on drums, Jeff Ratner on upright bass and David Moore on keyboard & banjo. The upright bass adds such a presence onstage, and such a richness to the music. And Ratner knows how to work it.

Moore was animated on the keys, and a downright animal on the banjo. In one particular maelstrom of strumming, he managed to both break a string and rip the accompanying tuning key right out of the banjo head. The volume on the banjo could have been turned up a bit for the whole show, but it was played with such zeal that even with minimal amplification, it was still a presence.

DeLorenzo also attacked his instrument with a particular fervor, all four of his limbs moving so quickly they were almost hard to see. It seemed like he was working to contain himself from jumping out of his seat for most of the show.

And Langhorne Slim himself left it all on stage, ending the night covered in sweat and stripped down to a tank top t-shirt. His songwriting is so forthright and easy to relate to that it doesn’t take much for him to have an immediate connection with the audience. And his stage presence only amplifies that feeling. They played a fairly long setlist, featuring material from the most recent release, Be Set Free, as well as songs from several of their previous albums. My personal favorite was “She’s Gone,” but then that’s also my favorite song of their whole catalog…

If you don’t own any Langhorne Slim, it’s time you gave it a listen. And if these guys play anywhere close to you, go see them. I promise, you won’t be disappointed. Along with Midlake, Langhorne Slim now tops my list of bands I need to see again, and as soon as humanly possible.

There are a few good shows coming up that I recommend seeing. If you were to only go to one of them, I highly recommend Langhorne Slim. He made my Favorite Music 2006 list, and I’ve been dying to see him live ever since. His live show is supposed to be outstanding…

Wednesday, December 1
Langhorne Slim @ Higher Ground

Tuesday, December 7
Miniature Tigers w/Maga @ Monkey House

Maga is one of my favorite local acts, and sure to put on a good show. They alone make the cost of admission worth it, though I also recommend sticking around for Brooklyn’s Miniature Tigers.

If there’s one word I could use to describe last night’s show, it would be “beautiful.” Though I’m not sure that quite does justice to the performances by Horse Feathers and Anais Mitchell.

Sadly I missed Paddy Reagan (as Paper Castles), who opened the show. I got there to a fairly packed house (I didn’t bother to try and count the people, but the Showcase Lounge was significantly more full than I’ve seen it in a very long time). I have to assume that Anais (a Vermonter) was the big draw, but regardless of why they were there, it was nice to see such a large crowd for a folk music show.

Horse Feathers came on first (they were co-billed with Anais, and I’m pretty sure she’s been opening for them, so again, I have to assume it had to do with the show being in VT). They are a four-person band, with Justin Ringle on vocals & (mostly) acoustic guitar, Catherine O’Dell on cello, Nathan Crockett on violin and Sam Cooper as a multi-instrumentalist (including drums, banjo, xylophone and a variety of others).

They played several songs from House With No Home, my favorite album of theirs, as well as a lot of songs off of their latest album Thistled Spring. Ringle’s vocals were obviously the highlight of the show, imparting such sorrow without being weepy or melodramatic. I also particularly liked the plucking of the cello, and my personal favorite instrument of the night — the edge of a cymbal played with a bow. Definitely never seen that before, and it created such a unique sound.

As the sunlight dwindles, the days get colder and winter nestles in for the long haul, Horse Feathers put on a performance that seemed to perfectly match my mood. You can be sure that they’ll be on heavy rotation for the cold, dark months to come.

Anais Mitchell took the stage with a couple of her friends, one on electric guitar and the other on drums/keys/etc. They played an assortment of her solo material and songs from her rock opera “Hadestown.” This is the second time I’ve seen Anais play (the first being my very first show in Burlington, in early 2007), and she has definitely made huge leaps forward. Her voice is still out of this world, but she appeared much more confident and at home in the spotlight, where she definitely belongs.

The songs I liked most were the ones Anais played alone — I think her voice tended to shine more (it’s really tough to describe, but I think caramel coated sugar is a good descriptor). I heard a couple of different people in the audience talking to each other about how outstanding her singing voice is, and I couldn’t agree more. Not that she isn’t already well on her way, but I expect very big things from Anais as more people have the chance to hear her sing.

Because folk music doesn’t always translate well at a live show, I tend not to go to folk-ish shows very often, but Anais Mitchell and Horse Feathers proved to me last night that a folk performance can be as captivating and beautiful as any.

I don’t love all the shows I go to, and sometimes I don’t have so much to write about those shows. So I’m introducing a new form of review: the twitter-length wrapup. A 140-character (or less) summary of my experience. Here goes: